The trouble is, this is familiar territory, dated since the early days of the Walkman, so without at least some level of reinterpretation or examination, Hail Satin risks becoming little more than the tightest ever live-band karaoke. They home in on that whirlwind period when the Bee Gees were, by a good distance, the biggest act in the world-the Beatles after the Beatles, the Kings of Pop before the King of Pop. They don’t rehash “Stayin’ Alive.” They know their lane, and they steer clear of the British-Australian trio’s 1960s country-soul or ’80s adult-contemporary balladry. Give Foo Fighters credit for their Bee Gees song selection. Yes, this seems superfluous: How many Bee Gees covers by Foo Fighters does the world need? Yes, it’s also conceptually muddled: What do live versions of new Foo Fighters songs have to do with Bee Gees covers or wide-lapeled leisure suits? But it’s hard to get too worked up about all this when nobody else seems to be. The five tracks on side two are straightforward live-in-studio renditions of Medicine at Midnight cuts. The rest of side one is devoted to loud but loving covers of four other numbers from the Gibb brothers’ massive songbook. Hope you’re ready to boogie down: “You Should Be Dancing” is merely the opening track on an entire album attributed to the Dee Gees, a Record Store Day exclusive titled, semi-funnily, Hail Satin. Thoroughly harmless, it’s kind of a hoot. When Grohl channels Barry Gibb’s horndog dancefloor exhortations (“My woman gives me pow-wah!”), it feels as self-consciously silly as disco’s monocultural phase gave audiences a license to be, from Studio 54 to suburban strip malls. Recorded with one-man multi-platinum mint Greg Kurstin, the veteran band’s stab at the Bee Gees’ nuke-proof 1976 hit-the first in a run of disco-pop smashes that would appear on the next year’s gazillion-selling Saturday Night Fever soundtrack-is muscular but essentially faithful. We know how to do it The easy, fast & fun way to learn how to sing: 30DaySinger.The stakes could hardly have been lower. Gimme just enough to take us to the mornin' Watch: New Singing Lesson Videos Can Make Anyone A Great Singer Listen to the ground The B-side of "Night Fever" was a live version of "Down the Road" taken from the Bee Gees 1977 album, Here at Last. Also, for one week in March, Bee Gees related songs held five of the top positions on the Hot 100 chart, and more impressively, four of the top five position, with "Night Fever" at the top of the list. For the first five weeks that "Night Fever" was at #1, "Stayin' Alive" was at #2. It remained at #1 for eight weeks (the most for any single that year), and ultimately spent 13 weeks in the top 10. The record debuted on the Billboard Magazine Hot 100 Chart at #76, then leaped up 44 positions to #32. The song bounded up the Billboard charts while the Bee Gees two previous hits from Saturday Night Fever soundtrack ("How Deep is Your Love" and "Stayin' Alive") were still in the top ten. Stigwood liked the title Night Fever but was wary of marketing a movie with that name. Producer Robert Stigwood wanted to call the film Saturday Night, but singer Robin Gibb expressed hesitation at the title. It first appeared on the soundtrack to Saturday Night Fever on RSO Records. "Night Fever" is a song written and performed by the Bee Gees.
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